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Stabat Mater Erin Wall · Mihoko Fujimura Christian Elsner · Liang Li

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Stabat Mater Erin Wall · Mihoko Fujimura Christian Elsner · Liang Li DVORˇ ÁK STABAT MATER ERIN WALL · MIHOKO FUJIMURA CHRISTIAN ELSNER · LIANG LI MARISS JANSONS Chor und Symphonieorchester des Bayerischen Rundfunks ANTONÍN DVORˇ ÁK 1841–1904 Stabat mater für Soli, Chor und Orchester, op. 58 01 Nr. 1 Quartett und Chor Stabat mater dolorosa. Andante con moto 17:31 02 Nr. 2 Quartett Quis est homo, qui non fleret. Andante sostenuto 9:45 03 Nr. 3 Chor Eja, mater, fons amoris. Andante con moto 7:03 04 Nr. 4 Bass-Solo und Chor Fac, ut ardeat cor meum. Largo 8:17 05 Nr. 5 Chor Tui nati vulnerati. Andante con moto, quasi allegretto 3:56 06 Nr. 6 Tenor-Solo und Chor Fac me vere tecum flere. Andante con moto 6:36 07 Nr. 7 Chor Virgo virginum praeclara. Largo 5:22 08 Nr. 8 Duo (Sopran und Tenor) Fac, ut portem Christi mortem. Larghetto 4:23 09 Nr. 9 Alt-Solo Inflammatus et accensus. Andante maestoso 5:08 10 Nr. 10 Quartett und Chor Quando corpus morietur. Andante con moto 8:12 Total time 77:55 ERIN WALL Sopran / soprano MIHOKO FUJIMURA Mezzosopran / mezzo soprano CHRISTIAN ELSNER Tenor / tenor LIANG LI Bass / bass Chor des Bayerischen Rundfunks Michael Gläser Einstudierung / chorus master Symphonieorchester des Bayerischen Rundfunks Mariss Jansons Dirigent / conductor ZWISCHEN RESIGNATION UND sik. Aber nicht nur die bloße Dimension, sondern auch die Größe der Kon- zeption, die Weitungen ins Symphonische und der durchgehende Aus- VERHEISSUNG druck tiefer Frömmigkeit verleihen Dvorˇáks Werk eine besondere Würde. Die ganze Komposition durchströmt eine tief empfundene Innerlichkeit, Die Frage, warum sich Dvorˇák im Februar 1876 dem mittelalter- eine kontemplative, elegische Grundhaltung, die getragen wird von durch- lichen Gedicht des Stabat mater, das den Schmerz Marias unter dem gängig langsamen Tempi (nur der 5. Satz schreibt ein Andante con moto, Kreuz Jesu besingt, zuwandte, lässt sich nicht eindeutig beantwor- quasi allegretto vor, alle anderen Sätze folgen dem Typ des Largo oder An- ten. Einen Auftrag zur Komposition gab es nicht, und auch eine kon- dante), überwiegend gedämpfter Dynamik und einer oft in sich gekehrten krete Verwendung im Rahmen eines kirchlichen Festes oder einer Melodiosität. Nur sparsam durchbricht Dvorˇák den getragenen Gesamt- religiösen Andacht hatte Dvorˇák, wie die Länge des Werks und seine große duktus mit dramatischen Ausbrüchen, Klangsteigerungen und -ballungen. Orchesterbesetzung nahelegen, sicherlich nicht im Sinn. Seit 1874 als Or- Natürlich ist dieser verhaltene, andächtige Ton durch den Text des Stabat ganist an der Prager St.-Adalberts-Kirche angestellt, kam Dvorˇák in jener mater vorgezeichnet, dem theatralische Bilder, wie man sie etwa vom Re- Zeit regelmäßig mit Kirchenmusik in Berührung und könnte dadurch zu ei- quiem-Text kennt, fremd sind. Er schildert den Schmerz Marias im Ange- genem geistlichen Schaffen angeregt worden sein. Möglicherweise kam es sicht ihres verstorbenen Sohnes am Kreuz zunächst aus der Perspektive im November 1875 sogar zu einer unmittelbaren Begegnung mit einer zeitge- eines neutralen Beobachters, wechselt dann aber zur Ich-Perspektive eines nössischen Stabat-mater-Vertonung: So nimmt man an, dass Dvorˇák bei der persönlich Betroffenen, der darin Trost zu finden hofft, Marias Schmerz zu Uraufführung des Stabat mater von Franz Xaver Witt in der Prager Em- teilen, und am Ende Christus selbst um Erlösung bittet. So wohnen dem maus-Kirche den Harmonium-Part spielte. Er dürfte sich von der poetischen Stabat-mater-Gedicht, dessen Urheberschaft bis heute nicht geklärt ist, As- Tiefe des Textes angesprochen gefühlt oder das Bedürfnis verspürt haben, pekte sowohl von Trauer und Klage als auch von vorsichtiger Hoffnung inne. der cäcilianisch schlichten und eher schmucklosen Vertonung von Witt (nur Und eben diese Aspekte finden sich auch in Dvorˇáks Musik: Mit feinen, lei- für Chor mit Begleitung eines Tasteninstrumentes) ein üppiges Orchester- sen Abschattierungen pendelt sie – ohne dabei minutiös auf direkte Wort- werk entgegenzusetzen, das von vorneherein für den Konzertsaal bestimmt ausdeutung zu achten – zwischen Resignation und zaghaften Momenten der war. Was auch immer der genaue Auslöser gewesen sein mag Tatsache ist, Verheißung. dass Dvorˇák sein Stabat mater in der Zeit vom 19. Februar bis zum 7. Mai Leid und Trost – diesen Dualismus umspannt wie ein Programm be- 1876 skizzierte. Nach dieser ersten particellartigen Niederschrift des Werkes reits die Orchestereinleitung des 1. Satzes. Aus dem unbestimmten, auf rückten für eineinhalb Jahre andere Arbeiten in den Vordergrund. Dass sich mehrere Instrumente verteilten Flirren des Tons ‚fis‘, dem Dominantton Dvorˇák dann im Herbst 1877 das Stabat mater wieder vornahm und es inner- der Grundtonart h-Moll, löst sich das Hauptthema heraus, eine in klei- halb weniger Wochen orchestrierte und endgültig fertig stellte, wird häufig nen, teils chromatischen Tonschritten absteigende Klagelinie, die mit ih- mit den Schicksalsschlägen des Sommers 1877 in Verbindung gebracht: Am ren häufigen Wiederholungen den schmerzerfüllten Grundcharakter über 13. August starb seine einjährige Tochter Ru° žena durch einen tragischen 40 Takte lang festlegt. Eine Variante dieser absteigenden Linie, von den zar- Unfall (sie hatte aus Versehen Phosphorlösung getrunken), und nur weni- ten Klängen der Oboe und der Flöte eingeleitet und nach Dur harmonisiert, ge Wochen später, am 8. September, erlag der drei Jahre alte Sohn Otakar öffnet in Takt 50 aber plötzlich den Blick in eine andere Welt: Licht strömt ein, den Pocken. Nachdem bereits im Sommer 1875 die Tochter Josefa zwei Tage und der Hörer wird („dolce“) von einer Woge der Milde und Sanftmut davon- nach ihrer Geburt gestorben war, blieb die Familie kinderlos zurück. In dieser getragen. Mit diesem symbolträchtigen Beginn und der insgesamt sympho- traurigen Lebenssituation mochte Dvorˇák das Bedürfnis verspürt haben, sich nischen Ausweitung des thematischen Materials bleibt der Satz, der fast ein erneut jenem Werk zuzuwenden, das von Schmerz und Mitgefühl handelt, und Viertel der gesamten Spielzeit einnimmt, der bedeutungsschwerste des zehn in dieser Versenkung selbst Trost zu suchen. Nummern umfassenden Stücks. Er schließt – und dies darf als ein Ausblick Dvorˇáks Stabat mater gehört mit seinen rund 80 Minuten Spielzeit zu den auf das Ende gewertet werden – in Dur. umfangreichsten Vertonungen dieses Textes in der abendländischen Mu- In den Nummern 2 bis 4 überwiegen die Molltonarten und der getragene, trauernde Gestus der Melodik. Inhaltlich steht jetzt ganz das Mitempfinden rauf erging eine Einladung der Royal Philharmonic Society und des Verlags- mit der Gottesmutter im Vordergrund. Der 2. Satz wird vom Solisten-Quar- hauses Novello an Dvorˇák, sich im folgenden Jahr persönlich in London als tett ohne Chor bestritten, der 3. Satz hat trauermarschartigen Charakter, und Dirigent vorzustellen. Und so leitete er am 13. März 1884 mit einer riesenhaft der 4. Satz lebt vom Kontrast zwischen dem Solo-Bass und den ätherischen besetzten Aufführung des Stabat mater in der Royal Albert Hall sein erstes Klängen des Frauenchors, und auch er birgt, wie der 1. Satz, berückende Auf- Konzert in England. Schon wenige Tage nach der denkwürdigen Darbietung hellungen nach Dur. Mit dem 5. Satz vollzieht sich dann ein spürbarer Wech- meldete Dvorˇák in seine Heimat: „Ich kann gar nicht sagen, wie sehr mich die sel der Grundstimmung. Die zarte, pastorale Es-Dur-Idylle im sanft fließenden Engländer auszeichnen und ehren! Überall wird über mich geschrieben und 6/8-Takt, die in seinen Rahmenteilen gemalt wird, steht in gewissem Gegen- gesprochen, und man sagt, ich sei der Löwe der heurigen Musiksaison in Lon- satz zum Text der Strophe, der von den Qualen Jesu Christi handelt. Nur der don!“ Acht weitere Reisen Dvorˇáks auf die britische Insel und eine Reihe von Mittelteil bildet – übrigens über demselben Text – eine dramatische Kontrast- gewichtigen Auftragskompositionen für England sollten diesem triumphalen partie aus. Die Nummern 6 und 7 behalten den lieblichen, gelösteren Ton und Auftakt folgen. die Dominanz der Dur-Tonarten bei. Nr. 6 ist ein gebetsartiger Gesang des Vera Baur Solo-Tenors mit Begleitung des Männerchors, und Nr. 7 besticht durch seinen schlichten, immer wieder von A-cappella-Passagen durchzogenen Chorsatz. Nr. 8 präsentiert sich als melodisch schwelgerisches, wenngleich melancho- lisch verschattetes Zwiegespräch zwischen Sopran und Tenor, bevor mit Nr. 9 endgültig der ernstere Charakter des Anfangs zurückkehrt: Der Solo-Alt bittet, begleitet von aufwühlenden Figuren im Orchester, um Rettung vor dem Jüngsten Gericht. Mit dem Schlusssatz (Nr. 10) spannt sich der Bogen zum Beginn des Werkes. Wie der Einleitungssatz beginnt er mit einem Unisono auf dem Ton ‚fis‘, und spätestens ab Takt 40 ist die Motivik des 1. Satzes omnipräsent. Bereits in Takt 32 hebt eine harmonische und dynamische Steigerungspartie an, die in einer vom achtstimmigen Chor im Fortissimo und a cappella zu singenden Vision des ewigen Lebens in Frieden und Freude gipfelt. Damit erweisen sich die hier erklingenden Worte „Paradisi gloria“ als Zielpunkt des ganzen Werkes. Die im 1. Satz angedeuteten Momente von Hoffnung werden nun zur Gewissheit, und wie um dies zu bestätigen, stimmt das Solisten-Quartett im Anschluss an die- se Stelle jene verheißungsvolle und besänftigende Geste an, mit der im 1. Satz das Klagemotiv plötzlich nach Dur gewendet worden war. Es folgt eine tri- umphal ausgreifende „Amen“-Fuge, bevor der Chor den Erlösungsgedanken mit aller Emphase in einer weiteren A-cappella-Passage nochmals verkündet
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